At its heart, THAT’S A WRAP is a love letter to Hollywood, most particularly horror films, paying tribute with every facet of the production in a film heavy on meta and camp while filled with terror, twists, turns, and blood; lots and lots of blood.
Although you can see the lo budget/no budget/micro-budget budgetary constraints in the production design of THAT’S A WRAP from the get-go, director Marcel Walz and his team more than make up for that thanks to some creative cinematography courtesy of Marcus Friedlander, some very cool VFX-aided editing by Kai E. Bogatzki, an award-worthy performance by Monique Parent, and a script by Joe Knetter and Robert L. Lucas that is to die for.
A giallo style horror movie set against the backdrop of a lo-budget horror movie wrap party consisting of about seven guests only (the film’s cast and no crew), we meet the “movers and shakers” behind director Mason Maestro’s latest masterpiece. From red carpet entries to a rather subdued party on one of the soundstage sets, we meet each of our actors as legend-in-his-own-mind Mason regales them with how incredible the teaser trailer is; not the film itself. Just the teaser trailer. No one has seen the actual movie.
As part of the party decor is a mannequin of the film’s slasher. But it’s not just a mannequin that’s on display. Someone has dressed up as the slasher and begins to stage kill scenes using the movie cast as kill props. As one by one the cast disappears, fear rises for us the audience as kills escalate in macabre acts of violence until the ultimate truth of this wrap party night is finally revealed. And what a reveal it is.
From an opening “prologue” featuring Cerina Vincent that gives a wink to Drew Barrymore in “Scream”, to Hitchcock’s “Psycho” and the infamous shower scene, to one of the most memorable psychological breakdowns in cinema history by way of “Sunset Boulevard”, not to mention many other horror films throughout the decades, to some musical notes from spaghetti westerns and epic dramas, to multiple genres spanning horror, sci-fi, romance, comedy, and yes, even porn, scribes Joe Knetter and Robert L. Lucas steep us in the history of “Hollywood” with telling dialogue, true to life characters, and indelible creativity.
But THAT’S A WRAP is more than just visual and aural cues to cinema history. There is plenty of commentary and subtext in the dialogue and character construct that speaks to the industry as a whole over the decades. I guarantee that as you watch this film you will be giving knowing nods with each character we meet as being similar to or actually someone you know in real life. Knetter and Lucas have nailed every personality to a tee from the aging movie star and downtrodden trophy wife with the egomaniacal director husband, to the disgruntled nasty producer, wannabe ingenues, wannabe no-talents paying cash for a role, actors with no scruples who will sell their body for a role, and more. And yet, we see hope and joy with one actor steadfast in her morals and ethics who understands the business and how to “make it” the right way (aka hard work and study), accepting the metaphoric passing of the torch from one who succeeded and survived with the hope that those ethics will be carried forward into the new generation of filmmakers and actors.
Of course, this is a horror film and what would a horror film be without kills, and lots of them. This is where Walz truly shines. He is a visual director who celebrates staging, the use of color, and creative lensing. Giving us small intimate sets within the studio in which the wrap party is being held, we are drawn into each moment and the characters. Walz and cinematographer Friedlander understand visual grammar and use all the tools in the cinematographic toolbox to great effect steeping us in ambient visual tonal bandwidth. Slo-motion, light flares, ECUs, swipes, even black and white. All are employed judiciously and appropriately. And the use of color is outstanding! Be it red on red, red on white, greens, dark blue washes, a wet street with watered-down neon lights, all is metaphoric and telling.
Editor Kai Bogatzki keeps the film moving at an even pace, but when it comes to kills adds some flair by varying the pace of scene execution, most notably in a key scene focused on Steven J. Owens who plays Stoney. Jaw-dropping camp that slays! And get ready for the third act and the deliberate modulated pacing of a climactic monologue by Monique Parent that is mesmerizing.
Speaking of Monique Parent, her performance as Lily is truly the high point of her multi-decade career. Her life experience and her career work all come together and will have you riveted as she builds to an unforgettable “Norma Desmond” monologue in the third act. Parent is award-worthy here. Equally impressive are her scenes with Sarah French as the young star Harper. While French’s presence on its own is standout, the conversational chemistry between French and Parent is resonant and refreshing. And then put Parent with Robert Donavan who plays Lily’s egomaniacal husband Mason and layers of Lily emerge. Having worked together decades ago, the pair have a well-worn feel as husband and wife and even provide us with a beautiful moment of romance that adds a touch of sweetness to all the bloodshed.
Always fun to see pop-up is Jed Rowen, here as a red carpet photographer forever on the fringes of stardom, as well as veteran special effects guru Joe Castro. Joining the mix are Gigi Guston, Dave Sheridan, Adam Bucci, Sarah Polednak, Brandon Patricio and Ben Kaplan as the film within a film cast. Not to be overlooked is a real surprise appearance by none other than Fredric von Anhalt aka “Mr. Zsa Zsa Gabor”.
Filled with touchstones, camp, and kills, you’ll really hate to see THAT’S A WRAP wrap at film’s end.
Directed by Marcel Walz
Written by Joe Knetter and Robert L. Lucas
Cast: Monique T. Parent, Sarah French, Cerina Vincent, Robert Donavan, Joe Castro, Jed Rowen, Frederic van Anhalt, Gigi Guston, Dave Sheridan, Adam Bucci, Sarah Polednak, Brandon Patricio and Ben Kaplan
by debbie elias, 08/15/2023
